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Home , Henrik Plenge Jakobsen, Pierre Huyghe, Rirkrit Tiravanija

NEW ECONOMY 06.15–07.28.2007 m a i n s p a ce New Economy Chantal Akerman Artists Space Kader Attia June 15–July 28, 2007 Ursula Biemann Curated by João Ribas Mike Bouchet Heath Bunting Los Carpinteros Carolina Caycedo Daniel Dewar & Grégory Gicquel Harun Farocki Eva and Franco Mattes a.k.a. 0100101110101101.ORG Cildo Meireles Oliver Ressler Joe Scanlan Santiago Sierra Milica Tomic Donelle Woolford “The basic economic resource—‘the and communications media had a process of subsumption: just as was the rise of the ‘socialized’ worker, means of production,’ to use the supposedly fixed economic fluctuations capital had to ‘industrialize’ in the a mutation of abstract labor resulting economists’ term—is no longer capital, and led to a steady pattern of economic 19th century, it has to ‘information­ from the decentralization of production nor natural resources, nor ‘labor’…. growth, hitting fever-pitch in the alize’ today. In the words of Walter and an emphasis on communication, Value is now created by ‘productivity’ Dot-com boom. Wriston, a former chairman of creativity, and innovation. and ‘innovation,’ both applications The dominant economic model Citigroup, “when the world’s most As information technology of knowledge to work.” became that of the circulation precious resource is immaterial, theorist Shalini Venturelli has of disembodied entities, such as the economic doctrines, social argued, “a nation without a vibrant —Peter Drucker information, derivatives, copyright, structures, and political systems creative labor force of artists, writers, Post-Capitalist Society and social relationships, and the that evolved in a world devoted to the designers, scriptwriters, playwrights, eventual assimilation of such service of matter become rapidly ill painters, and musicians,” would The term “New Economy” emerged technological utopianism throughout suited to cope with the new situation.” not possess the necessary base to after the Cold War to define the the entire global marketplace. This lay behind Robert Reich’s succeed in this new economic model. postindustrial economic order. As a Industrial economies gave way to argument, as secretary of labor Creative enterprise has become a knowledge-driven form of post-Fordist social productivity and circulation of under President Bill Clinton, for the determining economic factor: accord­ capitalism originating in the 1950s, electronic capital, the informatisation assimilation of manufacturing jobs ing to the Intellectual Property it heralded the productive power of production expanding just as into the creative economy through Association, its related sectors are of information and communication readily throughout the technology the development of new skills. estimated to be worth “$360 billion a technology as the new engine of sector as through the remnants His case was seemingly oblivious to year, making them more valuable than global markets, ‘flexible accumulation’ of the ‘matter’ industry, that is, from the fact that a new specialized sector automobiles, agriculture, or aerospace.” serving as the catalyst for an economic new media technologies to automobile might not absorb such displaced mass But if the knowledge and model concerned with the production, manufacturing. labor (thereby creating a ‘relative information-based sectors of major processing, and distribution of Immaterial production thus surplus population’ of the chronically economies are increasingly valued information, and favoring ideas, began to assert a central role underemployed). The goal was to as the driving force of economic services, and sociability over in global markets, as the economics educate a knowledgeable, rather development, and work is increasingly inert commodities and industrial labor. of information shaped even non- than standardized, work force to act governed by creativity and social The ‘new economy’ and the corres­ immaterial aspects of production as the catalyst of economic growth productivity, what is the role of artistic ponding expansion of broad non- (such as the ‘flexibilization’ of labor). through a redefinition of labor and practice in this political economy? industrial sectors of Western nations The U.S. economy, for example, the social character of work. Are artists acting as migrant laborers gave rise to a transnational market in began to demassify in the post-Cold Yet as capital seemingly demater­ who produce ‘artisanalized’ infor­ which, according to Wired magazine War era, with the information and ialized, a correlative ‘remapping’ of mation? Is studio practice a localized in 1998, “people work with their brains service- based sector accounting for labor occurred, as so-called industrial form of resistance to immaterial instead of their hands,” and where a large percentage of the total economies looked to downsizing capitalism? “innovation is more important than economy (30% of the workforce by some and structural underemployment in In the era of information as mass production.” statistics). According to a major study response to increasing automation capital, artistic labor seems placed As Daniel Bell had presaged conducted in 2004, the US information and flexibilization of labor. The result in a specific political position in terms decades earlier, the central role sector “grew about 46% in 1967 was an outsourcing phenomenon, of new economy ideology and new knowledge production and capital to about 56% in 1992, and to 63% a kind of spatial reorganization social structures defining the global mobility played in this information in 1997.” of capital flows: industrial economies labor market. New Economy surveys economy focused on development While only accounting for a shifted their manufacturing sector the nature of artistic practice in this in the ‘intangible’ sectors of production, fraction of the total global labor force to areas with cheaper wage labor, and post-Fordist era, while also focusing as an ascendant ‘creative class’ and thus concentrated geopolitically, concentrated domestic investment on artists who are dealing with the leveraged the capacity of information this new composition of ‘knowledge- on non-industrial and non-agricultural social conditions and redefinitions of through technology. By the mid-1990s, based’ labor exerted a hegemony over sectors. Concomitant with that spatial labor implicit in the information-based large-scale investment in information all other forms of production through organization of information capitalism, model of postindustrial economies.

6. A RT i s T S s p a CE NEW ECONOMY 6. One of the most significant issues supposed ‘frictionless’ economy. cinema as a symptom of the ongoing phenomenon of the 1990s). From is seen in the rise of migrant labor Kader Attia’s illegal sweatshop, used disappearance of industrial labor in diametrically opposed ends, both policy debates in Europe and the U.S. to produce his own branded ‘Hallal’ the 20th century. Santiago Sierra and Rirkrit Tiravanija While the idea of a common European goods, similarly makes visible The nature of labor is also the confront this condition, either by market implies a borderless circulation the conditions of labor that lie behind source of the collective work of outright politicized manipulation of capital—in the ‘neo-medievalist’ the functioning economy of many Havana-based artists Los Carpinteros of divisions of labor—as in the Europe of decentralized power and subaltern populations. and of French duo Daniel Dewar rounding up of beggars in Mexico transnational governance—borders If practice itself becomes a way to and Grégory Gicquel. In their work, City in Sierra’s 100 Indigentes themselves are in fact contested in reconfigure artistic labor, and mobility artistic practice is a means to call on (2005)—or the creation of conditions order to stem the flow of migrant and social production are embraced older forms of production—including that highlight an increasing commod­ labor displaced by the ‘new economy.’ as potentially socially progressive, this the medium of drawing for Los ification of social relationships Yet through the proliferation of art is because contemporary art practice Carpinteros—to assert that the role over democratic processes, seen in fairs, biennials, and the transnational has in fact long been driven by infor­ of creative labor in the new economy Tiravanija’s work, such as Untitled character of artistic production today, mation, from conceptualism and is as significant to artistic production (Artificial Flavor) (1991). artists seem to function increasingly the dematerialization of the art object as the shift from craftsman to Karl Marx diagnosed the as part of a knowledge-labor sector to relational aesthetics and new media inspired artist in 15th-century Italy. transformation of the capitalist mode that flows across neoliberal borders. art. One of the most prescient uses By drawing on the artist’s studio as of production reflected in this Is there any condition for criticality of this relationship is the appropriation a site of almost artisanal production, practice in the Grundrisse der Kritik or political agency when artists of the e-commerce model by Heath the work of Dewar & Gicquel seems der Politischen Ökonomie of 1858: are positioned directly in contrast to Bunting several years before the to propose a kind of resistance to the the marginal elements of the body Paypal system of electronic payment. conditions of informational capital, Labor no longer appears so politic, afforded rights, such as that Skint—The Internet Beggar (1995) giving primacy to a defiantly material, much to be included within the of circulation, denied to other political functions as a website through which poetic, and near pre-industrial basis of production process; rather, the subjects? Can this position serve visitors can donate funds using a artistic labor (or its value, as in Cildo human being comes to relate more as the basis for a politicized practice? Visa or Mastercard. Ursula Biemann’s Meireles’ Zero Dollars, 1978-1984). as watchman and regulator to In this sense, the transnational video Writing Desire (2000) looks This logic is taken to a brilliantly the production process itself. What political character of artistic practice at the role such information and absurd endgame in Mike Bouchet’s holds for machinery holds likewise today might perpetuate a pattern communication technology plays in My COLA Lite (2004), an artist- for the combination of human of social organization that is increasing sex work on the internet, and on produced, homemade diet soda. Joe activities and the development the disparity between the ‘first’ and the exploitation of women from the Scanlan’s fictional African-American of human intercourse. ‘developing’ worlds along a division third to the first world through the artist Donelle Woolford, who creates of labor. gaze of an internet browser. wood-based cubist paintings in a Henrik Plenge Jakobsen’s ‘relaunch’ Renowned filmmaker Chantal In Workers Leaving the Factory re-appropriated style, and Scanlan’s of Marx’s Das Kapital and Adam Akerman’s From The Other Side (2002) (1995) filmmaker Harun Farocki own sculptural work, function as a Smith’s The Wealth of Nations focuses on Mexican migrants waiting addresses the factory as a social body, method to disseminate information proposes a reassessment of classic to cross over illegally into neighboring and as the source of organization and to reconfigure the character and economic doctrines within substantive Arizona (thanks to surveillance of production in society, through its distribution of artistic labor itself. changes in production and social technology perfected for the Gulf War, unique presence in the history of Away from the production model life. The relaunch—in fact nothing the INS has closed off most entry film. Taking its subject matter from of artistic practice, the nomadic nature more than promotional material points into the U.S., leaving mostly the eponymous Lumière brothers’ film of post-studio work and the use of generated for exhibition—also calls mountains and deserts as pathways). of 1895, widely considered the first manual labor to produce art through into question notions of branding Akerman’s film addresses the work of cinema ever publicly screened, instruction or exploitation reveal and the increasing emphasis on the economic dependence of the U.S. Farocki’s film essay traces the social a specific position of the artist within regulation of intellectual property on such undocumented labor and the development of industrialization and the social body of knowledge-workers rights in monopolistic information econ­ disparities and dire reality of the the nostalgic presence of the factory in (reflected in the ‘artist as corporation’ omies, as information goods become

6. A RT i s T S s p a CE NEW ECONOMY 6. reproducible at virtually no cost, Chantal Akerman De l’autre côté / From the Other Side and since knowledge leads to profit 2002, 103 min. through copyright. Milica Tomic’s Courtesy AMIP Multimedia, Reading Capital (2005) puts Marx’s text in the mouths of wealthy Texans, re-examining the premise of Marxist political economy within a model of capitalist wealth and exchange that is itself in contention. In contrast, Austrian artist Oliver Ressler uses the format of public posters and billboards to suggest tenets and principles on which an alternative system to the existing capitalist economy could be based. One such principle still functioning is a barter economy, which has survived the agricultural, industrial, and postindustrial ages, continuing to this day on the internet. Carolina Caycedo’s Day to Day (2006) revolves around such a dynamic of exchange without money. By subsisting only on the services and goods she could trade for others, Caycedo effects a redistribution and conservation of knowledge and commodities, breaking apart, as much relevant artistic practice today does, some of the essential conditions of production in a global informational economy.

—João Ribas

6. A RT i s T S s p a CE NEW ECONOMY 6. Kader Attia Sweatshop Ursula Biemann Writing Desire 2005 2000, 23 minutes, Color, VHS Courtesy the artist and Galerie Courtesy the artist Christian Nagel, Berlin

6.10 A RT i s T S s p a CE NEW ECONOMY 6.11 Mike Bouchet My Cola LITE Heath Bunting Skint—The Internet Beggar 2004, Homemade diet cola, 1995 glass bottles, photocopied hand affixed paper labels. Courtesy Maccarone, New York

6.12 A RT i s T S s p a CE NEW ECONOMY 6.13 Los Carpinteros Jardín Francés Carolina Caycedo Day to Day 2 (I took Pedro [right 2007, wc / paper in photo] to pick up his broken bike 64 × 128" from Williamsburg to Sunset Park Courtesy Sean Kelly Gallery, in Brooklyn, in exchange for internet New York access whenever I needed it) 2006, digital c-print, 10 ½ × 22"

Day to Day 11 (I moved Amy’s stuff from Fort Green in Brooklyn to El Barrio. She gave me a camera, books, plastic dishes, toys,clothes, curtains and 6gm of cannabis sativa) 2006, digital c-print, 10 ½ × 22" Courtesy Galería Comercial, San Juan, Puerto Rico

6.14 A RT i s T S s p a CE NEW ECONOMY 6.15 Daniel Dewar & Grégory Gicquel Handcrafted BMX Frames Harun Farocki Workers Leaving the Factory 2004, A37 tubes 1995, video, b/w & color, 36 min. Handmade Deck, Truck and Wheels Courtesy Harun Farocki 2002, Rubber, wood, stainless steel Filmproduktion Courtesy Galerie Loevenbruck, Paris

6.16 A RT i s T S s p a CE NEW ECONOMY 6.17 Eva & Franco Mattes Nothing Is Real, Everything Is Possible Cildo Meireles Zero Dollar a.k.a. 0100101110101101.ORG 2007, posters and postcards of ongoing 1978–1984, Offset litho on paper synthetic performance in Second Courtesy Galerie Lelong, New York Life,a re-enactment of ’ 7000 Oaks Courtesy the artists

6.18 A RT i s T S s p a CE NEW ECONOMY 6.19 Henrik Plenge Jakobsen Das Kapital Oliver Ressler Alternative Economies, 2004, Dimensions Variable Alternative Societies Courtesy the artist 155 × 110 cm, 2005 Courtesy Artra Galleria, Milan

Milan, Italy, 2006 Photo: Fabrizio Spipari Courtesy Artra Galleria, Milan

Bratislava, Slovakia Billboartgallery Europe, 2004 Photo: Oliver Ressler

Imagine a decentralized system of social order in which all persons affected by political decisions are allowed to make decisions in a grassroots democratic way, based on the principle of consensus

Imagine a society in which people have a say in decisions in proportion to the degree that they are affected

6.20 A RT i s T S s p a CE NEW ECONOMY 6.21 Santiago Sierra 100 Indigentes, Plaza del Rirkrit Tiravanija Untitled 1991 (Artificial Flavor) Estudiante, 20. México D.F., México. 1991, Two suitcases, flavored potato December 2005 chips, lots of people Courtesy the artist and Courtesy Gavin Brown’s Enterprise, Galería Helga de Alvear, Madrid New York

6.22 A RT i s T S s p a CE NEW ECONOMY 6.23 Milica Tomic Reading Capital Donelle Woolford Desktop Publishing 2004, production stills Still Life With Hanging Lamp Courtesy Charim Galerie, 2007, Wood scraps, latex paint, screws, cardboard Courtesy the artist

6.24 A RT i s T S s p a CE NEW ECONOMY 6.25 Chantal Akerman des Arts Appliqués Geneva; Thessaoloniki Education in Cuba; Dagoberto de lo ordinario a lo Daniel Dewar & Czechoslovakia. Lives Born 1950 in Brussels, Duperré, Paris, 1993 Biennial 2006 “Black UCLA, School of Fine Rodríguez Sánchez, extraordinario o cómo Grégory Gicquel in Berlin. Belgium. Lives in Paris. Selected Solo Sea Files, Glanz Arts Los Angeles, 1994 born 1969 in Cuba. salir de la piel del conejo. Daniel Dewar, born 1976, Education Selected Solo Exhibitions und Globalisierung”, Selected Solo Los Carpinteros live A propósito de Manual in Forest Dean, Great Deutsche Film- und Exhibitions 2006 Musée d’Art Hartware Exhibitions in Havana. de Trabajo / Esculturas Britian. Lives in Nantes, Fernsehakademie Berlin 2005 “Chantal Akerman - Contemporain de Lyon, MedienKunstVerein, 2007 “Mike Bouchet”, Education Recientes”, Revolución ; Grégory Gicquel, (DFFB), 1968 25ème écran (25th Lyon, France; Andréhn- Dortmund; “World Galeria GP + N Vallois, Marco Antonio Castillo y Cultura, Havana, pp. born 1975, in St Brieuc, Selected Exhibitions Screen)”, Princeton Schiptjenko, Stockholm, Unlimited”, Museum for Paris 2006 “Jacuzzis Valdés: Superior Art 61-63 [illus.] France. Lives in Paris. 2006 Filmmuseum, University Art Sweden 2005 The Sketch, Modern Art, Arnhem, & Almost Every City Institute of Havana Education Vienna 2004 Museu Museum, Princeton, , UK; Big Bang, NL; “The Unquiet World”, in the World”, Galerie (ISA), 1995; Dagoberto Carolina Caycedo Dewar: Ecole Regionale d’Art Contemporani de NJ 2004 “Retrospective Jewish History and Australian Centre for Michael Neff, Frankfurt Rodríguez Sánchez: Born 1978 in London, des Beaux Arts de Barcelona, Barcelona; Integral”, Cinema at Art Museum, Paris Contemporary Art, 2005 “New Jacuzzis”, Superior Art Institute of England. Lives in Rennes, France, 2000. Zeughaus, Berlin; , Paris 2004 HALLAL, Kamel Victoria AUS; Tehran Kunstraum Innsbruck, Havana (ISA), 1994 London, Bogota, and Gicquel: Ecole Regionale Cinemateca Uruguaya, 1998 “Selfportrait/ Mennour Gallery, Paris Museum of Contemporary Austria; “Top, Back Selected Solo Puerto Rico. des Beaux Arts de Montevideo; Videoex, Autobiography—a work 2002 Alter Ego, Kamel Art; Olivetti and Bottom of mind Exhibitions Education Rennes, France, 2000. Zürich; Video Lisboa, in progress”; Sean Kelly Mennour Gallery, Paris Foundation, Rome; Awareness”, maccarone 2006 “Sel et Poivre”, BA, Los Andes Selected Solo Lisbon 2003 10e Biennale Gallery, New York; Frith Selected Bibliography Gallery of Brandeis inc., New York 2004 Galerie In SITU, Paris, University, Bogotá, 1999 Exhibitions de l’image en Mouvement Street Gallery, London “50ème Biennale de University, Boston “Extra City (residency)”, France; Faro Tumbado, Selected Solo 2007 “Dewar & Gicquel”, Centre Saint Gervais, Selected Bibliography Venise”, Fault Lines, 2005 “Europlex: Re-Act”, Antwerp, Belgium; “Mike Galería Habana, Exhibitions FRAC Basse-Normandie, Geneva; Argos Festival, Foster, Gwendolyn 2003; “Ouvertures Nikolaj Bouchet”, Michael Neff, Havana, Cuba; “During 2006 Blow de la Barra, Caen; “Dewar & Brussels; Kino in der Audrey: “Identity and Algériennes”, créations Contemporary Frankfort Dinámicas de la Cultura London, UK 2005 Gicquel”, Chapelle du Reitschule, Bern Memory: The Films vivantes, 2003; Alter Art Center; “The Urbana”, 9th Havana “Solo Under”, Galeria Genêteil, Centre d’Art Selected Bibliography of Chantal Akerman”, Ego, galerie Kamel Need to Document”, Heath Bunting Biennial, Havana, Cuba; Comercial, San Juan, Contemporain, Château- Volker Pantenburg: “Film Flicks books, London, Mennour, Paris, 2002; Kunstmuseum Born 1966 in London, “Los Carpinteros”, Puerto Rico; “Break it”, Gontier; Daniel Dewar als Theorie Bildforschung Southern Illinois Nova Magazine, mars Baselland; Barents England. Lives in Bristol, Contemporaneamente, Ibid Projects,Vilnius, & Grégory Gicquel, bei Harun Farocki University Press, 2000; “L’Evénement du Triennial, Kirkenes England. Milan, Italy; “Los Lithuania 2003 Palais de Tokyo, Paris und Jean-Luc Godard” Carbondale, 2003; Jeudi”, février 2000; Norway; “Black Sea Selected Exhibitions Carpinteros”, Unosunove “Sonidos de una Ciudad”, 2006 “HAZELNUT transcript, 2006; Akerman, Chantal: “Libération”, février 2000 Files: B-Zone Becoming 2007 “From clubcard and IILA, Rome, Italy Alianza Francesa Norte, COTTAGE”, Galerie Christa Blümlinger: “Une famille à Bruxelles”, Europe and Beyond”, to citizenship, the 2005 “Los Carpinteros: Bogotá, Colombia; Loevenbruck, Paris; “Harun Farocki / Image L’Arche éditeur, Ursula Biemann Kunstwerke Berlin; status project”, ICA, Inventing the World”, “Break Dance Season”, “Strike a pose VCA”, (Circum)volution; Harun September 1998; Born 1955 in Zurich, 7th Sharjah Biennial London 2006 “Cutting, USF Contemporary Art Espacio La Rebeca, Margaret Lawrence Farocki / (Circun)volución Akerman, Chantal: Switzerland. Lives Selected Bibliography Climbing, Crossing, Center, South Florida Bogotá, Colombia Gallery, Melbourne, de la imagen” Zehar, “Un divan à New in Zurich. Ursula Biemann/Brian dayplandrugblog”, University, Tampa, Selected Bibliography Australia; “UKIYO – E”, No. 59, 2006, p. 20-26; York”. L’Arche, 1996; Education Holmes: “The Maghreb OVERGADEN, Florida, Chicago Cultural Smith, Roberta, FRAC Pays de la Loire, Matthias Mühling: Akerman, Chantal, Whitney Independent Connection, Movements Copenhagen; “Day Center, Chicago, Illinois, “A Carnival Of Art, Carquefou; “Driving “Gefängisbilder. Harun Catherine David, Study Program, New of Life Across North planning for everyone”, Contemporary Arts Money, Surf And Sand”, in the abyss behind a Farocki”, 40 Years Video Michael Tarantino: York, 1988; BFA School Africa,” English/Arabic. Kalmar Konst Museum, Center, Cincinnati, , 2 big tits lorry truck Art.de Digital Heritage, “Bordering On Fiction: of Visual Arts, New York, Ed., Actar Publishers, Kalmar, Sweden; “How Ohio; En el Jardín, Dec.3 2005; Bajo, truck mental ray”, Ecole Part 1, Ostfildern 2006, Chantal Akerman’s 1986; Instituto de Bellas 2006; “Black Sea Files” to change your identity Fortes Vilaça Gallery, Carlos “Un Arte Para municipale des Beaux- p. 302-305 D’Est,” Walker Art Artes, Mexico, 1984; in: “B-Zone - Becoming and location in ten São Paulo, Todos Los Publicos”, Arts, Galerie Edouard Center, Minneapolis, School of the Museum of Europe and Beyond”, minutes”, Forum 06, Selected Bibliography Diari de Terrasa, Manet, Gennevilliers Eva and Franco Minnesota, 1995 Fine Arts, Boston, 1981; Ed. Anselm Franke, Art Box, Athens, Greece Abreu, Andrés: 21.02.2004; Mojica, Selected Bibliography Mattes a.k.a. Colleges in Zurich and Actar Publishers, 2005; 2005 “Cooking cleaning “Equilibrio entre Jenifer “Carolina Les Inrockuptibles, 0100101110101101.ORG Kader Attia Lausanne, 1976 Ursula Biemann Ed. and shopping, city reiterados y debutantes”, Caycedo En Het Colectivo n°593, 2007; Le Journal Born 1976. Live and Born 1970 in Dugny, Selected Exhibitions “Geography and the rumble”, Overgaden, Granma, Havana, p.6 Cambalache”, Thru des Arts, n°256, 2007; work in Italy. Seine Saint-Denis, 2007 “Black Sea Files: Politics of Mobility,” Copenhagen, Denmark; [illus.], Cuba, January #2. Oct. 2003; Dossier Les Inrockuptibles, Selected Solo Exhibitions France. Lives in Paris. This is My Place”, Generali Foundation, “How to change the 19, 2005; Alberdi Le Troc. Edited by n°592, 2007; , 2007 “Annoying Japanese Education Kunstverein Hamburg; Vienna, English/German, status of media art”, Benítez, Virginia: Sylvette Babin. ESSE n°252, 2007; 02, 2007; Child Dinosaur”, Ecole Nationale “Zona-B”, Fundacio published by Walther Radiator Festival, “Cuba es noticia en Arts+Opinions 49. Exporama n°3, 2006; Les Dockswiss Gallery, Supérieure des Arts Antoni Tapies, Barcelona; König, Cologne, 2003 Trampoline, Nottingham, la Bienal de Venecia”, Fall 2003; Hoffman, Inrockuptibles, n°577, Lucerne, Switzerland; Décoratifs, Paris, Peacock Gallery, United Kingdom Granma, Havana, p.6 Jens,“Take Me 2006; Le Monde, 2006; “13 Most Beautiful 1998; Escola de Aberdeen; Biennial Mike Bouchet [illus.], Cuba, June (I’m Everyone’s)”. “Here, 02, 2006 Avatars”, Postmasters Artes Applicades “La Moscow; “The Maghreb Born 1970 in Castro Los Carpinteros 22, 2005; Sedano There, Elsewhere... Gallery, New York; LOL, Massana,” Barcelone, Connection”, Centre Valley, California. Lives Marco Antonio Castillo Alvarez, Verónica: Krabbesholm”, Harun Farocki Fabio Paris Art Gallery, 1994; Ecole Supérieure d’Art Contemporarin in . Valdés, born 1971 “Transmutaciones Denmark. 2003 Born 1944 in Novy Jicin, Brescia, Italy 2006 “13

6.26 A RT i s T S s p a CE NEW ECONOMY 6.27 Most Beautiful Avatars”, Hilarie, “Underrated/ Lukas&Sternberg, für aktuelle Kunst, Expeditie, Amsterdam, persona”, Galleria Civica “Gordon Matta-Clark-In 2002 “Bild Museet”, Italian Academy at Overrated,” ArtNews, Berlin/New York, 2005 Engl./Serbian, 72 p., The Netherlands di Arte Contemporanea the Belly of Anarchitect Umea, Sweden , January 2005, p. 10 2005; “Alternative Selected Bibliography Trento, Trento, Italy; (with 2000 “Artist Statement”, New York 2005 “United Oliver Ressler Ökonomien, Alternative Art Forum 6, Février Haus im Schlamm, & Pamela M. Lee)”, Facade Project, We Stand”, Postmasters Henrik Plenge Born 1970 in Knittelfeld, Gesellschaften”, 2004,“Artist Curates, Kestnergesellschaft, Portikus, Frankfurt, Secession, Vienna; Gallery, New York; “Nike Jakobsen Austria. Lives in Vienna. Kurswechsel, 2005; Joe Scanlan”, 2004; Hannover, Germany Germany; “Nothing”, , Ground Experience”, Born 1967 in Education “European Corrections “Fussnoten”, Kunsthalle Selected Bibliography CMU Art Museum, Arnheim, Netherlands; Fabio Paris Art Gallery, Copenhagen, Denmark. Artists Residency, Banff- Corporation”, Revolver Bern, Ilona Ruegg, “La Téléréalité: Chiang Mai, Thailand; Kunsthalle Wien, Brescia, Italy Lives in Copenhagen. Centre for the Arts, – Archiv für aktuelle 2002; “Cut and Place”, Un Laboratoire “Social Pudding”, Rirkrit Project space, Vienna, Education Banff, Canada, 1998; Kunst, Ger./Engl., 2004 A Prior & Donelle d’Observation sociale”, Tiravanija and , Austria 1999 Galerie im Cildo Meireles Royal Danish Academy University for Applied ; “Boom!”, folder, Engl., Woolford, 2002; Knight, Claire Moulène, in: 1301PE, Los Angeles, Taxispalais, Innsbruck, Born 1948 in Rio de of Fine Arts, Arts, Vienna, 1995 2002 ; “Dienstleistung: Christopher, “The Art contemporain et CA 2003 “Demo Station Austria; “i am milica Janeiro, Brazil. Lives Copenhagen, Denmark, Selected Exhibitions Fluchthilfe – Border Everyday on a Pedestal”, Lien social, Éditions No. 4”, Ikon Gallery, tomic” (web project) in Rio de Janeiro. 1994; Institut des 2007 “Mucha Crossing Services”, Ed. The Los Angeles Times Cercle d’Art, Paris, Birmingham, UK; “In CYGNET/Shiseido Selected Solo Hautes Etudes en Art vigilancia, mucho Selene, 52 p., Ger./Engl., (Wednesday, January 2007; Minimalism and the Future Everything Virtual Gallery, Japan Exhibitions plastique, Paris, France, movimiento, mucha 2002; “Nachhaltige 31), 2001 After, Renate Wiehager, Will Be Chrome”, Gavin Selected Bibliography 2006 “Babel”, Estação 1993; Ecole Nationale desconfianza”, Centro Propaganda Sustainable DaimlerChrysler Brown’s enterprise, Gerald Matt, Interviews, Pinacoteca, Sao Paulo, Supérieur des Beaux Fundación Telefónica, Propaganda”, Ed. Selene, Santiago Sierra Collection, Hatje Cantz New York, NY; “Social Triton Verlag, Vienna, Brazil; “Seducoes: Arts, Paris, France, 1993 Documentation Center, 44 p., Ger./Engl., 2000 Born 1966 in Verlag, Ostfildern, ex. Pudding”, Galerie fur Austria, 2003; Paco Valeska Soares, Cildo Selected Solo Lima (PE); “Display – Madrid, Spain. Lives cat., 2007; einatmen. Zeitgenossische Kunst, Varragan, El arte Meireles, Ernesto Neto”, Exhibitions space for contemporary Joe Scanlan in Mexico City. ausatmen, Christiane Leipzig, Germany que viene/The art to Daros-Latinamerica, 2005 “J’Accuse”, South art”, Prague (CZ); “If Born 1961 in Stoutsville, Education Mennicke, Kunsthaus Selected Bibliography come, Subastas siglo Zurich, Switzerland London Gallery, London, you see something, say OH. Lives in New Haven, Escuela de San Carlos, Dresden, Dresden, ex. Bishop, Claire, “But is XXI, Madrid, Spain, 2005 “Algum Desenho England; “Circus something”, Gallery A4, Connecticut. Universidad Nacional cat., 2007; Vitamin Ph: it –?” 2002; Elizabeth Cowie, [1963-2005]”, Centro Pentium”, The National Sydney (AU); “Nothing Education Autónoma de México, New Perspectives in Tate, Etc., Issue 3, “Perceiving Memory Cultural Banco do Gallery of Fine Arts, for us. Everything for The School of the Art Mexico City, 1997; Photography, Phaidon Spring, pp. 26-35, 2005; and Tales of the Other. Brasil, Rio de Janeiro, Copenhagen, Denmark everyone!”, Galerie IG Institute of Chicago, Hochschule für Bildende Press, London, 2006 Lutticken, Sven, Review, The Video Art of Milica Brazil 2004 “Descala 2003 “Circus Portikus”, Bildende Kunst, Vienna IL, 1985; BFA, The Künste (F.E. Walter, Artforum, XLIII, No. 6, Tomic”, Camera Austria and Strictu”, Galerie Portikus, Frankfurt (A); “The Country of Columbus College of Art B.J. Blume and S. Rirkrit Tiravanija February, pp. 164-165, International, Vienna, Lelong, New York; Am Main, Germany; the Endangered Body”, and Design, Columbus, Brown), Hamburg, Born 1961 in Buenos 2005; Sheets, Hilarie M., Austria, No. 72, pp. 14– “Occasion”, Portikus “Dialectic materialism”, Trafo Gallery, Budapest OH, 1984 Germany, 1991; Círculo Aires, . “Underrated Overrated 16, 2000 im Leinwandhaus, Galleria Maze, Turin, (HU); “After Neurath: Selected Solo de Bellas Artes (J.G. Lives in New York, (Paul Ha)”, ARTnews. Frankfurt, Germany Italy; “Delirium”, Vin Like Sailors on the Exhibitions Dokoupil), Madrid, 1989; Berlin, and . January, p. 108, 2003 Miami Art & Sprit historiska Open Sea”, Stroom, The 2007 “Mood Swings”, Universidad Computense, Education 2005; “News: Prizes”, Museum, Miami, Florida; museet, Stockholm, Hague (NL); Moscow Galerie Micheline Madrid, 1989 The Whitney ARTnews. January, p.54, Musee d’Art Moderne Sweden; “Wiener Biennial, Moscow Szwajcer, Antwerp 2006 Selected Solo Independent Studies 2005; “News: Prizes and et Contemporain de Kromatisch”, Michael (RUS); “Free Radicals; “Thanks: Returning Exhibition Program, New York; Competitions”, Flash Strasbourg, France; Hall, Vienna, Austria Public Views”, Gandy the Favor”, Apexart, 2007 “Proyecto Caracas, The School of the Art Art, January-February, Musee d’Art Moderne de Selected Bibliography Gallery, Bratislava (SK); New York, NY; “Six Feet Santiago Sierra, Sala Institute of Chicago; p. 45, 2005; Parreno, la Ville de Paris, France Frieze issue 93, “Emotional Landscapes”, Under Autopsie unseres Mendoza”, Centro The Banff Center School Philippe; Sterling, Bruce; Selected Bibliography “Common People” By Fri-Art – Centre d’Art Umgang mit Toten”, Cultural Chacao de of Fine Arts, Banff, Tiravanija, Rirkrit; Taylor, Victor Zamudio, Alex Farquharson, 2005; Contemporain, Fribourg Kunstmuseum Bern, El Rosal, Caracas, Canada; The Ontario “A Retrospective “Suduções: Valeska “Henrik Plenge Jakobsen, (CH) 2006 “Now-Time Bern; “printemps de Venezuela 2006 College of Art, Toronto, (Tomorrow is another fine Soares, Cildo Meireles Circus Pentium”, exh Venezuela, Part 1: septembre”, Printemps “Santiago Sierra, CAC Canada day)”, Museum Boijmans and Ernesto Neto,” cat., Statens Museum Worker-Controlled de Septembre, Toulouse; Málaga, Málaga; 245 Selected Solo Van Beuningen, Art Nexus, October- for Kunst, Copenhagen, Factories”, Berkeley Art “Home Sweet Home – m_ - Santiago Sierra”, Exhibitions Rotterdam, 2004 December 2006, p. 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6.28 A RT i s T S s p a CE NEW ECONOMY 6.29 Published on the occasion Artists Space would Stephen A. and Diana Cover of the exhibition like to thank João L. Goldberg Foundation; Henrik Plenge Jakobsen New Economy Ribas for his vision Herman Goldman The Wealth of Nations June 15 – July 28, 2007 and enthusiasm; the Foundation; The and Das Kapital Artists Space artists for their work Horace W. Goldsmith 2004, Dimensions 38 Greene Street and generosity; Aurélie Foundation; The Variable 3rd Floor Pauvert at Audiovisuel Graham Foundation for Courtesy the artist New York, NY 10013 Multimedia International Advanced Studies in the www.artistsspace.org Production, Paris; Fine Arts; Greenwich Inside Cover Joaquín García Collection, Ltd.; Elise Harun Farocki Curator at Galería Helga de Jaffe + Jeffrey Brown; Workers Leaving João Ribas Alvear, Madrid; Laura Jerome Foundation; the Factory Mitterand at Gavin JetBlue Airways; 1995, video, b/w & Editor Brown’s enterprise, Virginia W. Kettering color, 36 min. João Ribas and New York; Boshko Fund; JP Morgan Courtesy Harun Farocki Stefania Heim Boskovic at Sean Kelly Chase; MAT Charitable Filmproduktion Gallery, New York; Foundation; Mondriaan Design Alexandra Schillinger Foundation; Betty Project Projects at Galerie Loevenbruck, Parsons Foundation; Paris; Ellen Langan Puffin Foundation Ltd.; at Maccarone, New York; Starry Night Fund Miryam Charim of the Tides Foundation; and Kurt Kladler at Strypemonde Foun­ Charim Galerie, Vienna; dation; Trust for Mutual Mark Hughes at Galerie Understanding; Verizon Lelong, New York; Foundation; The Andy Francisco Rovira Rull Warhol Foundation for at Galeria Comercial, the Visual Arts; and San Juan; Adam with public funds from Michaels and Prem the New York State Krishnamurthy Council on the Arts, a for their design; and State Agency; the New Jessica Heywood for her York City Department of research efforts. Cultural Affairs; and the National Endowment for Exhibitions at Artists the Arts. Space are funded, in part, by Altria Group, Inc.; New Economy was Harriet Ames Charitable made possible, in part, Trust; Milton and Sally by Étant Donnés. Avery Arts Foundation; Florence V. Burden Foundation; CAMPARI; Carnegie Corporation Inc.; Con Edison; Consulate General of the Netherlands; Cowles Charitable Trust; The Danielson Foundation; Danish Council; Elaine Dannheisser Foundation; Debs Foundation; Easton Foundation; Foundation for Contemporary Arts; Gesso Foundation;